The Falling’s complex plot unravels due to prolonged episodes of fainting. Puberty is portrayed as a driving force for personal development, illustrating the transformation from childhood into young adulthood. This progression isn't simple, requiring considerable physical and emotional strength that triggers hormonal changes. The bonds between young girls are particularly intense, creating rituals that strengthen their friendships. Morley’s distinctive mystery centers on an all-girls school experiencing synchronized mass hysteria following a student’s death. This psychological contagion allows for exploration of sexuality, set against a backdrop of melodrama during the autumn season. It's unsettling and captivating through metaphorical body possession, suggesting supernatural elements linked to underlying sexual desires. Morley generally succeeds when she lets her acting ability shine; Williams portrays a psychologically troubled student who seems to initiate the outbreaks with remarkable bravery. Despite being hospitalized, psychoanalyzed, and withdrawn from therapy, the causes of these episodes remain unexplained – an instance of mass psychogenic illness. Morley’s use of ambiguity allows her story to visually represent sexualization through hormonal influences taking over the mind, almost like a possession. However, the screenplay relies on poetic language and dreamlike narration, stressing the connection between the girls. Unfortunately, certain conversations explicitly explain potential metaphors, particularly during a one-sided therapy session Lydia and her friends attend. This diminishes the impactful interpretations that came before the ending. The final ten minutes bring about Morley’s own episode of hysteria, shifting the tone and mood, and accelerating the pace. She explores darker themes, contrasting sharply with the previously mysterious narrative. The innocent Lydia questions her neglectful, agoraphobic mother about her father while also developing a relationship with her brother, uncovering her family history and suggesting a hereditary cause for her instability. It’s at this point that Morley seems to lose control of the story's direction, offering a simplistic explanation that resolves familial issues quickly, which weakens the supernatural atmosphere. Peake’s talent felt wasted, though Pugh delivers an exceptionally strong performance that compensates somewhat. The editing creatively assembles images during quick flashbacks, generally proving effective. Thorn’s soundtrack, however, was too bold and distracting, making The Falling feel like a casual summer outing rather than a profound work of art. Morley is a capable director, and The Falling is a unique film tackling various subjects with imaginative flair. Its main problems lie in the disappointing conclusion and some technical missteps that cause the narrative to falter repeatedly.

Source on TMDB